January 31, 2013

Stephanie Powers fills in for ailing Valerie Harper as Tallulah in 'Looped'

Valerie Harper has departed the national tour of "Looped," the play about late-career Tallulah Bankhead that will be presented at Baltimore's Hippodrome March 5-17. Stephanie Powers is stepping into the role.

Harper, who was nominated for a 2010 Tony Award for her performance in "Looped" on Broadway, was hospitalized during rehearsals for the tour.

The actress, famed as the character Rhoda on "The Mary Tyler More Show" and its spinoff, has returned to Los Angeles, "where she will receive continuing treatment and medical care," according a statement from producers. The tour opens in Fort Lauderdale Feb. 26.

Harper said that the "play has been such a gift and it was my hope and intention to play this role again in the upcoming tour. But given my doctor’s recent recommendations, I must now put all my energy into getting well and renewing my strength."

Powers, whose extensive stage and screen credits include the hit TV show "Hart to Hart," makes a particularly apt choice as a replacement. "Looped" is set in a sound studio, where Bankhead has a great deal of difficulty recording ("looping") a line of dialogue for the film "Die, Die, My Darling." That 1965 co-starred Powers.

January 25, 2013

Re-imagined version of 'Disney's Beauty and the Beast' at the Hippodrome

Judging by the continued obsession contemporary society has with physical appearance, kids and adults alike could use a reminder about the skin-deep, eye-of-the-beholder nature of beauty — and about just how beastly some humans can behave toward those considered inferior.

Those messages are being energetically underlined these days at the Hippodrome, where a pleasant production of the popular musical “Disney’s Beauty and the Beast” has taken up temporary residence.

This is a different show than the one that ran on Broadway for 13 years and previously visited Baltimore. For this fourth national tour, the original creative team has taken a fresh look at everything. There’s been some downsizing here, some trimming there, and a lot of re-imagined visuals.

Folks who remember the initial version are bound to notice, especially ...

January 6, 2013

Hippodrome's 2013-14 season to include 'Book of Mormon,' 'War Horse'

The Broadway phenomenon known as “The Book of Mormon,” a musical from the creators of “South Park” that became a runaway hit two years ago and shows no signs of flagging, will reach Baltimore next season as part of the Hippodrome’s 10th anniversary.

Joining “Mormon,” which took the Tony Award for best musical in 2011, will be the Tony winner for best play that year, “War Horse,” a show celebrated for its inventive use of life-sized puppetry. One of last year’s big Tony accumulators, “Peter and the Starcatcher,” a play with music based on the novel by Dave Barry and Ridley Pearson, is also on the Hippodrome lineup.

“It’s a strong, subscriber-friendly season, appropriate for our 10th anniversary,” said Jeff Daniel, president of the Hippodrome at the France-Merrick Performing Arts Center. “It’s going to be hard to beat. We’ve even got a great holiday show to balance it all.”

December 20, 2012

'Billy Elliot: The Musical' a welcome holiday visitor at the Hippodrome

It’s a particularly appropriate time to see “Billy Elliot: The Musical,” which has leaped into the Hippodrome for a welcome holiday visit. And I'm not just talking about the Christmas scene in Act 2.

Although the principal story in this Tony Award-winning show — a young boy’s unexpected journey into the world of ballet — remains front-and-center, equally compelling plot lines about unions and working-class solidarity jump out with an extra kick right now.

From the opening minutes of “Billy Elliot,” the audience is plunged into the tensions in an English mining town in 1984, when a strike is called to protest moves by Margaret Thatcher’s government against the coal industry.

That tension, which generates some of the most visceral music in Elton John’s score, seems uncomfortably relevant, given the emotional battles just fought in Michigan over legislation targeting unions. And when, by the musical’s close, the defeated strikers sense the extent of their loss, Baltimoreans may well find themselves thinking about the depressing saga of Sparrows Point.

December 18, 2012

Hippodrome pursuing collaboration with Pennsylvania Ballet

The much-respected Pennsylvania Ballet may travel to Baltimore for a couple weeks every year for a residency at the Hippodrome Theatre. This collaborative project, which could start as early as next season, is being pursued by Hippodrome president Jeff Daniel.

"We should be doing more collaborations," Daniel said. "We should be an arts chamber of commerce for Baltimore. But this is not a done deal. I think I'm ahead of my skis. It is going to take ...

Company members have a long history of lending their support to charitable causes, raising more than $2 million for Broadway Cares/Equity Fights AIDS and local community AIDS charities during the seven years "Wicked" has been touring.

With "Witches Night Out," the performers have devised a showcase to display their beyond-Oz talents.

Admission to the Grand Central show is $20 ($40 for front row "VIP" seating), available at the door, which open at 11 p.m. Tickets are tax-deductible; all proceeds will benefit the charities.

A live auction will also be part of the event. Goodies being auctioned off include backstage visits to the Hippodrome to see Elphaba get her green coating applied, and a chance to be have your very own green-over from a "Wicked" makeup artist.

Review: 'Wicked' tour features strong cast in its return to Baltimore

This tale-spin about life in Oz, before that rude girl from Kansas crashed the place, is neither quite as profound as its most ardent champions would aver, nor quite as empty as its detractors have charged. But the work’s component parts certainly come together snappily in ways that create entertainment writ large.

“Wicked,” which has been aging nicely on Broadway for nine years and touring almost that long, first visited Baltimore in 2007. The second national tour has settled into the Hippodrome for a month-long residency, giving off remarkably fresh vibes.

Nothing screams “road show” here. Newcomers should find this production a worthy introduction; “Wicked” groupies ought to find plenty here to keep them engaged one more time.

The plot, adapted by Winnie Holzman from the Gregory Maguire novel, presents a back-story for the peculiarly green woman we last saw in a puddle — the Wicked Witch of the West, who tried so darn hard for the return of those jeweled slippers in the 1939 film “The Wizard of Oz.”

Various details we accept as gospel from that movie get some interesting twists (better to ...

(Not sure why Maryland Gov. Martin O'Malley was wearing what appeared to be an 1812-era military uniform -- bicentennial fever? -- but he sure looked dashing.)

The Chenoweth vehicle is more a two-act show than a mere concert.

Directed by Richard Jay-Alexander, the mostly well-paced production features the star in a hefty sampling of repertoire from her career and her current country-flavored album, along with a whole lot of humor -- much of it self-deprecating ("When I was little" -- pause "--er").

Saturday's performance found Chenoweth in sterling vocal form. I was reminded more than once during the evening of ...

April 27, 2012

'Mary Poppins' makes a pleasant landing at the Hippodrome

It easy to wish for more from “Mary Poppins,” the hard-working musical that has landed at the Hippodrome — a more layered story, more fleshed-out characters, more sparkling dialogue, more imaginative songs.

Then again, it’s easy to see what has kept the show running on Broadway for six years and has kept a national touting production racking up the miles and the audiences for three (two million theater-goers served in more than 30 cities so far).

For one thing, “Mary Poppins,” created in the 1930s by Australian novelist P. L. Travers, continues to be a beloved character with kids, not to mention adults who retain fond memories of childhood.

April 4, 2012

'Memphis' heats up the Hippodrome

Maybe it’s the timing.

“Memphis,” the 2010 Tony Award winner for Best Musical, is not the deepest or most original of works. But this exuberant tale of race and music in the 1950s seems to take on added substance at the Hippodrome this week, given how freshly divided the country is right now over the Trayvon Martin case.

And maybe it’s the location.

Given Baltimore’s own history of strained race relations and gaps between “white” and “black” pop music back in the day, “Memphis” can’t help but provide extra resonance and relevance. The show is, in many ways, a pretty close cousin to the endearing “Hairspray,” right down to scenes of a TV dance program where taboos are shattered.

However it’s considered, this national touring production of “Memphis” sure does hit the spot. It provides a hefty serving of entertainment as it gives you a little extra to chew on.

With a book and lyrics by Joe DiPietro and music and lyrics by Bon Jovi keyboardist David Bryan, “Memphis” centers around a white, gangly high-school dropout named Huey Calhoun who manages, in record time, to break racial and musical barriers in his hometown.

March 9, 2012

'Addams Family' shows its kooky stuff at the Hippodrome

It has all the weight and nutritional value of cotton candy. But “The Addams Family,” the Broadway musical that has taken up temporary residence at the Hippodrome Theatre, adds up to a mildly entertaining package of song and shtick.

Revised since its New York premiere, which received a drubbing from the press, the show provides a workable vehicle for the characters first immortalized by the Charles Addams cartoons and memorably brought to life by the 1960s TV series.

Marshall Brickman and Rick Elice, who wrote the book, borrowed a well-used device to frame the musical — the comic collision of opposites. On one side, the ever so odd, but loving, Addams clan. On the other, the Beinekes, a white-bread family from Ohio that comes for dinner.

Although that would have been enough to fuel a 30-minute episode of the TV show, it feels padded here.

The big new idea fashioned for the national touring production is a bit creaky, too. Gomez Addams reluctantly agrees to keep from his wife Morticia a secret, something neither ever does. It’s about daughter Wednesday, who, in addition to torturing her brother — and I do mean torturing — has found time to fall in love and make marriage plans.

It’s just a little too convenient that Morticia insists on playing a “truth game” even before she knows just how much has been kept from her, but this set-up does pay some theatrical dividends in the Act 1 finale.

Even though nearly every little turn in the plot is apparent before it arrives, just as nearly every rhyme in Andrew Lippa’s generic songs gives itself away before the next downbeat, the production manages to hold together.

February 2, 2012

'Wishful Drinking' makes rough landing at the Hippodrome, but still flies

As she is the first to tell you, Carrie Fisher has had an eventful life. Since a lot of those events involved drugs, alcohol, rehab, and battles with bipolar issues, you might not think that it could be such a funny life, too. But funny it is. Pretty endearing, too.

Fisher happily shares her experiences in “Wishful Drinking,” a solo theatrical vehicle the actress/writer introduced in 2006 with considerable success. The show, which arrived at the Hippodrome this week, still has legs. The level of sturdiness, though, can vary from performance to performance. (Video from an earlier production -- pre-weight loss -- is posted below.)

There’s no use pretending that opening night on Tuesday went smoothly. Fisher, who could not have been more unflatteringly attired (surely her weight loss since becoming a spokesperson for Jenny Craig deserves a better outfit), often sounded halting, even with a teleprompter.

The uneven pacing made the show’s length more problematic, underlining the fact that ...

January 26, 2012

Soulful Symphony's first Hippodrome season to open with Michael Jackson tribute

The Soulful Symphony, dormant for more than a year, will be back in the spotlight on Saturday.

The orchestra, founded in 2000 by composer, pianist and conductor Darin Atwater and made up predominantly of African American musicians, had an affiliation with the Baltimore Symphony for most of its first decade.

Thanks to the recently launched Hippodrome Arts Fund, Soulful Symphony is now a partner with the France-Merrick Performing Arts Center.

"We're ready to launch this thing again," Atwater said. "It's a new chapter, a new home -- but the same soul."

One aspect of that new home is the possibilities it offers to have a more ...

October 7, 2011

One more 'South Pacific' item: The absolute ultimate version of a great song

OK, I know I should stop with the 'South Pacific' stuff, but I just couldn't resist one more post.

As I said previously, the songs from this show have been stuck in my head since Tuesday night's opening performance of the production at the Hippodrome -- just as those songs were stuck for ages after I saw the original Broadway revival.

To tell the truth, my tastes were always a little more Rodgers and Hart than Rodgers and Hammerstein, but I have found, over the years, a greater and greater appreciation for the musical scores by the latter duo.

The song from "South Pacific" that really, really moves me is "This Nearly Was Mine." The melody, with its elegant harmony, is top-drawer; the words are exceptionally effective. The structure is terrific, too.

I have admired how this song was delivered by Paulo Szot in the 2008 New York staging; in Washington last year by David Pittsinger in the first national tour of the wonderful Bartlett Sher revival; and this week in Baltimore by Marcelo Guzzo in the second national tour. And, of course, I love the classic performances by Ezio Pinza and others who starred as Emil de Becque.

But there's a version of this song, removed from its theatrical context (and from the original bass/baritone realm), that's in a class by itself. The first time I heard ...

April 27, 2011

George Hamilton to star in 'La Cage aux Folles' at Hippodrome

The much-admired revival of the Jerry Herman/Harvey Fierstein musical "La Cage aux Folles" heading to Baltimore's Hippodrome next season will star movie/TV veteran George Hamilton.

The actor, whose perpetually bronzed skin had no rival until the emergence of House Speaker John Boehner, will have the role of gay nightclub owner Georges. Hamilton is not known for having a great singing voice, but he's likely to bring other attributes to the show, a comic clash of sexual, social and political forces.

As for the role of Albin, Georges' longtime partner who appears as the drag queen Zaza at the club ...

April 19, 2011

Wondering why the wow factor eludes 'West Side Story' revival

Since attending opening night of "West Side Story" at the Hippodrome last week, I've been wondering why there was so little of a wow factor in the performance.

(I don't usually mull over such things for so long, but, hey, I'm technically on vacation, which means I get easily distracted. It's actually the same when I'm not on vacation. I just have an excuse now.)

First, let me hasten to say that "West Side Story" virgins would do well to catch this national touring production. Revivals of the brilliant musical don't come around every day, given how big a show it is in terms of personnel and technical requirements.

And this one, which started out in D.C. three years ago and had a respectable Broadway run thereafter, provides a welcome opportunity to reaffirm how much gold is in this work -- the sizzling Bernstein score, the brilliantly athletic Jerome Robbins choreography. There's certainly enough quality in the production to make for an entertaining experience. But it just doesn't pack the punch it should. For all of the high-flying dance routines, the show doesn't soar high enough.

Arthur Laurents, who wrote the book for the musical, directed the original in 1957 and directed this revival, has a lot to say about revisiting "West Side Story" in his most recent book, "Mainly on Directing." He is especially proud of ...

December 3, 2010

In today's Sun: 'Rock of Ages' rockin' the Hippodrome

This morning, I'm still recovering from a mortifying experience during last night's festive lighting of the Washington Monument.

For the benefit of any non-Baltimore readers of this humble little blog, I should point out that our fair city's monument to the first president pre-dates the one in DC by many a year and is located in one of Baltimore's most picturesque spots.

As for the mortification, let's just say that the best way to make an impression on one's editor when you're invited to his first holiday party -- his fabulous apartment overlooks the Mount Vernon Place and the Monument -- is not to spill half a large cocktail shaker's worth of Gimlets all over the place. (Robert and I brought said shaker, pre-filled, to the party; not one of my brighter ideas.)

Never did see the lights being turned on by the Mayor or the fireworks afterward, as we were too busy trying to clean up the spill -- how it managed to coat a wall, as well as the floor, I'll never know -- while all the other guests were glued to windows or out on the balcony.

Needless to say, the newsroom is already abuzz today with the story of my sensational faux pas. I'm just glad it's not on YouTube.

Anyway, I mention all of this by way of trying to divert you from the fact that I don't have a fresh blog post yet, as I've got to finish a story for Sunday's paper. Meanwhile, I can

November 3, 2010

Blue Man Group rocks the Hippodrome

From the opening electronic ticker-tape messages, relaying birthday greetings and instructions on audience behavior (texting is banned, so older people “won’t feel inadequate”), to the deliriously multi-sensory finale, the Blue Man Group show at the Hippodrome Theatre packs a wallop.

The celebrated troupe, created by Matt Goldman, Phil Stanton and Chris Wink, has entertained some 17 million people across the globe since debuting nearly 20 years ago. This Baltimore appearance -- performances run through Sunday -- marks the first national tour of the theatrical version that has been a fixture in New York, Las Vegas and other places. It’s a big, loud, funny, silly, visually arresting production.

Tuesday’s opening night crowd, which gave every indication of arriving fully prepared and stoked for the experience, enjoyed superbly timed performances by Kalen Allmandinger, Josh Elrod and General Fermon Judd as the blue men. (Four players, including Mark Frankel, take turns in the lead trio roles during the run.)

There’s no point in trying to classify what these performers, with their trademark blue faces and bald, ear-less heads, do onstage for the better part of 90 minutes. It’s much easier to go with the flow — and duck down in your seat when those guys start roaming the aisles in search of audience volunteers. (Late-comers may have a much harder time remaining incognito.)

Surprise marriage proposal goes according to plan at Hippodrome

Although some readers fretted that I spoiled the surprise by reporting the event early on Wednesday (if only I were that widely read), the plot was not uncovered.

The solider, Sgt. Phillip Clark, an Army medic and Iraq War veteran now stationed at Ft. Meade, and his girlfriend, Jennifer Baggett, were called up to the stage as volunteers for a regular portion of the show, involving the making of a silent film. The couple played their parts perfectly -- they depicted illicit lovers being surprised by the woman's husband, who starts shooting. On cue, the soldier did his death scene and the girlfriend tried to revive him. Then he sprang into action on one knee.

Although un-amplified, the audience quickly realized what was happening and cheered. Here's a video clip (courtesy of the Hippodrome and Kit & Kaboodle Productions):

October 6, 2010

Iraq veteran will propose to girlfriend during Cirque Dreams performance at Hippodrome

UPDATE 10/7: The surprise worked like a charm (but thanks to all you snarky people who offered comments, thinking this blog was so darn powerful it would derail everything). You'll find video of the event elsewhere on the blog.

Audience participation is a regular part of the Cirque Dreams Illumination show that opened at the Hippodrome Theatre on Tuesday. But Wednesday night's performance will add a twist.

Two of the people picked from the house to go up onstage this time will know each other -- a U.S. solider stationed at Ft. Meade, just back from his third tour of duty in Iraq, and his girlfriend.

The skit they will be involved in concerns the making of a silent film (assuming it's the same as Tuesday's performance, the 'plot' will be about illicit lovers being surprised by the woman's husband).

When the skit ends, the solider will assume the bended-knee position and propose to his girlfriend in front of the entire company and audience.

The idea of the very public proposal came about after Cirque Dreams creator and founder Neil Goldberg learned that a solider wanted to buy VIP seats to the show and was planning to pop the question while at the Hippodrome.

No point wasting such a momentous event out in the house, when everybody could get in on it. Goldberg invited the couple to Wednesday's performance as his guests (names are being withheld until showtime) and organized the onstage surprise.

Born and raised in Washington, D.C., I couldn't help but develop a keen interest in politics, but music, theater and visual art also proved great attractions. Music became my main focus after high school. I thought about being a cocktail pianist, but I hated taking requests, so I studied music history instead, earning a B.A. in that field from Eisenhower College (Seneca Falls, N.Y.) and an M.A. from Occidental College (Los Angeles). I then landed in journalism. After freelancing for the Washington Post and others, I was classical music critic for the Sun-Sentinel in South Florida, where I also contributed to NPR. I've written for the New York Times, BBC Music Magazine and other publications, and I'm a longtime contributor to Opera News. My book, The NPR Curious Listener's Guide to Classical Music (Perigee, 2002), can be found on the most discerning remainder racks.

I joined the Baltimore Sun as classical music critic in 2000 and, in 2009, also became theater critic, giving me the opportunity to annoy a whole new audience. In 2010, my original Clef Notes blog expanded to encompass a theatrical component -- how could I resist calling it Drama Queens? I hope you'll find both sides of this blog coin worth exploring and reacting to; your own comments are always welcome and valued (well, most of them, at least).

Think of this as your open-all-hours, cyber green room, where there's always a performer or performance to discuss, some news to digest, or maybe just a little good gossip to share.
Note: Tim Smith now writes about the fine arts at baltimoresun.com/artsmash. This blog will be kept in place as an archive for an indefinite period. Please visit the new location to get the latest Mid-Atlantic arts coverage. View the Artsmash blog